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Sorry but the Johnson and Mitchell/Berry are awaiting artwork/documentation - historical stuff on the early Mitchell stuff is the delay.

The Braxton arrived today and single orders will be mailed on Monday. The Mitchell is supposed to arrive on Tuesday and I should mail on the following day.

I hope they make it across the state to me through the blizzard of '11

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A quick question regarding the new releases as compared to the 1967/68 Box Set:

You mentioned earlier that there would eventually be four single discs and one double.

Congliptious (single), Old/Quartet Sessions (double), and All The Numbers (double) seem to cover most of the box set, with the exception of "A to Ericka" and "Quintet" from Disc D.

Is that correct? Can we expect (hope) to see one more single disc release?

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CDs arrived today. Many thanks. Will listen (again and for the first time) and report.

Well, "report" suddenly sounds pretentious. Respond?

Express an impression? ;)

Halfway through the Braxton-McDonough, I'm kind of stunned. Such lovely, lucid, "balanced" music. Braxton is in great form, and why is the first time I've heard of McDonough? He's got big ears and a lot to say.

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Second half of the Braxton-McDonough is as fine as the first. Braxton sure was in great form when he recorded this. Sounds very happy, too.

Listened again to "Old" and "Quartet No. 2." Phillip Wilson is just fantastic. Was struck this time, more than I recall from the other times I've heard this music over more years than seems possible, by how much Lester and Roscoe were into a kind of hand-clapping "Shortnin' Bread" groove, melodically and rhythmically. (Of course, on the second disc, there's "Oh Susanna" to bear out that strain, and I recall at least one marvelous live performance back then that was based on "The Streets of Laredo.") Not that it's news, but among the many things at work there was a very deep link to the pre-jazz past -- as in (to not coin a phrase) "Ancient To The Future." But where did that come from? Church in part, plus Lester's tent-show experience, but the way Roscoe sort of of holds that material up the light, turns it this way and that and regards it -- what (for want of a better term) a sensibility.

In the booklet photos, Roscoe looks so young.

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Interesting liner notes too. I really came to appreciate them after typing them to get into digital form. :rolleyes:

Thanks. They were fun to write and IIRC came in a rush, as though the music were dictating them. I knew I was on a roll when I came up with "Mitchell has picked the lock of the imaginary museum and begun jitterbugging with the artifacts."

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